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| Claudio Abbado, Influential Italian Conductor, Dies at 80 | Claudio Abbado, Influential Italian Conductor, Dies at 80 |
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| Claudio Abbado, a conductor whose refined interpretations of a large symphonic and operatic repertory won him the directorships of several of the world’s most revered musical institutions — including La Scala, the London Symphony Orchestra, the Vienna Philharmonic, the Vienna State Opera and the Berlin Philharmonic — died on Monday. He was 80. | Claudio Abbado, a conductor whose refined interpretations of a large symphonic and operatic repertory won him the directorships of several of the world’s most revered musical institutions — including La Scala, the London Symphony Orchestra, the Vienna Philharmonic, the Vienna State Opera and the Berlin Philharmonic — died on Monday. He was 80. |
| Mr. Abbado died “serenely” at his home in Bologna, Italy, on Monday morning after a long illness, said Raffaella Grimaudo, spokeswoman for the Bologna mayor’s office. | |
| Italy’s President, Giorgio Napolitano, said that Mr. Abbado’s death was a reason of personal grief for him and of deep grief for Italy. | |
| “I pay homage to the man who has honored the great musical tradition of our country in Europe and all over the world,” Mr. Napolitano wrote. | |
| In a career that began in the late 1950s, Mr. Abbado was known for the directness and musicality of his performances. He almost always conducted from memory, insisting that using the score meant that he did not know the work adequately. | In a career that began in the late 1950s, Mr. Abbado was known for the directness and musicality of his performances. He almost always conducted from memory, insisting that using the score meant that he did not know the work adequately. |
| He was considered a particularly lyrical interpreter of Mahler, whose richly emotional language he had absorbed as a student in Vienna. But he was also regarded as a distinguished conductor of Mozart, Beethoven and Schubert, and he had a flair for Russian symphonic music. | He was considered a particularly lyrical interpreter of Mahler, whose richly emotional language he had absorbed as a student in Vienna. But he was also regarded as a distinguished conductor of Mozart, Beethoven and Schubert, and he had a flair for Russian symphonic music. |
| Reviewing a Beethoven concert by the Berlin Philharmonic in New York City in 2001, Bernard Holland wrote in The New York Times: “Much-performed music needs different approaches in order to survive, and Mr. Abbado had his own. First, any sound worth making must be a beautiful one. Beethoven’s rough surfaces are sanded and polished to a shine. The sweep of a melodic line takes precedence over the absolute clarity of inner voices.” | Reviewing a Beethoven concert by the Berlin Philharmonic in New York City in 2001, Bernard Holland wrote in The New York Times: “Much-performed music needs different approaches in order to survive, and Mr. Abbado had his own. First, any sound worth making must be a beautiful one. Beethoven’s rough surfaces are sanded and polished to a shine. The sweep of a melodic line takes precedence over the absolute clarity of inner voices.” |
| In the opera house, Mr. Abbado’s repertory was similarly broad: he made his professional debut with Prokofiev’s “Love for Three Oranges” in Trieste, in 1958, and had successes with productions of Mussorgsky’s “Boris Godunov” and “Khovanshchina.” His repertory included Mozart and Wagner as well, but his real specialties were Rossini and Verdi, whose music he performed with respect for the artistry they embody rather than the showmanship they allow. | In the opera house, Mr. Abbado’s repertory was similarly broad: he made his professional debut with Prokofiev’s “Love for Three Oranges” in Trieste, in 1958, and had successes with productions of Mussorgsky’s “Boris Godunov” and “Khovanshchina.” His repertory included Mozart and Wagner as well, but his real specialties were Rossini and Verdi, whose music he performed with respect for the artistry they embody rather than the showmanship they allow. |
| Like other opera conductors of the generation that came of age after World War II, he preferred to perform Verdi and other Italian Romantics in modern scholarly editions in which such opera house traditions as interpolated high notes were eliminated and material that had been cut was restored. In the mid-1970s, for example, he began to champion the restored, five-hour version of Verdi’s “Don Carlos.” And his 1984 Pesaro Festival performance (and subsequent recording) of Rossini’s long-lost “Il Viaggio a Reims” helped find that work a place in the repertory. | |
| Contemporary music was close to Mr. Abbado’s heart as well. | Contemporary music was close to Mr. Abbado’s heart as well. |
| Throughout his career he maintained a fondness for the music of Schoenberg, Berg and Webern, and he championed new works by Luigi Nono, Krzysztof Penderecki, Goffredo Petrassi, Karlheinz Stockhausen, Pierre Boulez, Luigi Dallapiccola and Giacomo Manzoni. | Throughout his career he maintained a fondness for the music of Schoenberg, Berg and Webern, and he championed new works by Luigi Nono, Krzysztof Penderecki, Goffredo Petrassi, Karlheinz Stockhausen, Pierre Boulez, Luigi Dallapiccola and Giacomo Manzoni. |
| Mr. Manzoni’s “Atomtod” — a work performed entirely in the dark — was an early success for Mr. Abbado when he conducted it at the Salzburg Festival in 1965, and he gave premieres and made first recordings of several other modern works. After he was made general music director of the city of Vienna, in 1987, one of his first projects was to establish the Wien Modern festival. | Mr. Manzoni’s “Atomtod” — a work performed entirely in the dark — was an early success for Mr. Abbado when he conducted it at the Salzburg Festival in 1965, and he gave premieres and made first recordings of several other modern works. After he was made general music director of the city of Vienna, in 1987, one of his first projects was to establish the Wien Modern festival. |
| Mr. Abbado was also known for his disdain for the trappings of a modern, media-driven conducting career. As communicative as his podium manner was, through much of his career he seemed slightly awkward coming on and off the stage. Explaining this in a 1973 interview, he likened himself to the conductor Hans Knappertsbusch, whose habit was to refuse curtain calls. | Mr. Abbado was also known for his disdain for the trappings of a modern, media-driven conducting career. As communicative as his podium manner was, through much of his career he seemed slightly awkward coming on and off the stage. Explaining this in a 1973 interview, he likened himself to the conductor Hans Knappertsbusch, whose habit was to refuse curtain calls. |
| “I used to be somewhat like that,” he said. “Now I take the time to be polite. Look, I like the reaction of the audience. I’m not sincere if I don’t say that, but it still embarrasses me to take bows. I’m not a showman. I hate all that.” | “I used to be somewhat like that,” he said. “Now I take the time to be polite. Look, I like the reaction of the audience. I’m not sincere if I don’t say that, but it still embarrasses me to take bows. I’m not a showman. I hate all that.” |
| It was a point of pride for him that he never actively sought the music directorship of any orchestra. But directorships came his way anyway. | It was a point of pride for him that he never actively sought the music directorship of any orchestra. But directorships came his way anyway. |
| In 1980, it was widely reported that the Chicago Symphony had tapped him to succeed Sir Georg Solti in 1982. It didn’t happen that way: Solti remained on the podium for several more years. But in 1982 Mr. Abbado was named principal guest conductor in Chicago, and held the position until 1986. | In 1980, it was widely reported that the Chicago Symphony had tapped him to succeed Sir Georg Solti in 1982. It didn’t happen that way: Solti remained on the podium for several more years. But in 1982 Mr. Abbado was named principal guest conductor in Chicago, and held the position until 1986. |
| In 1989, he was again the favored candidate of one of the top American orchestras, this time the New York Philharmonic, where he had been an assistant conductor early in his career. Just when negotiations reached the point where Mr. Abbado was reported to be looking for an apartment in Manhattan, the Berlin Philharmonic named him to succeed Herbert von Karajan as its music director, a position he held until 2002. | In 1989, he was again the favored candidate of one of the top American orchestras, this time the New York Philharmonic, where he had been an assistant conductor early in his career. Just when negotiations reached the point where Mr. Abbado was reported to be looking for an apartment in Manhattan, the Berlin Philharmonic named him to succeed Herbert von Karajan as its music director, a position he held until 2002. |
| In interviews, Mr. Abbado was often guarded and succinct. But he had strong opinions on a variety of subjects, and when he felt comfortable he would discuss them with the same incisiveness that he brought to his music making. About the relationship between politics and art, for example, he told a New York Times interviewer: | In interviews, Mr. Abbado was often guarded and succinct. But he had strong opinions on a variety of subjects, and when he felt comfortable he would discuss them with the same incisiveness that he brought to his music making. About the relationship between politics and art, for example, he told a New York Times interviewer: |
| “In life every man has to take a position. When people say, ‘Oh, he is a musician, why should he talk about politics?’ this is stupid. I did a concert against fascism in Italy at La Scala. It was at the time of the election and the fascists were very strong. In Italy the opposition to fascism is communism, but it is not like it is in America. | “In life every man has to take a position. When people say, ‘Oh, he is a musician, why should he talk about politics?’ this is stupid. I did a concert against fascism in Italy at La Scala. It was at the time of the election and the fascists were very strong. In Italy the opposition to fascism is communism, but it is not like it is in America. |
| “I myself, however, belong to no party. I voted for the Communists simply because they were the opposition to the fascists. But I disagree with both Italian and Russian communism on many things. My line is very clear. I am for freedom. Everything that is not for freedom I protest.” | “I myself, however, belong to no party. I voted for the Communists simply because they were the opposition to the fascists. But I disagree with both Italian and Russian communism on many things. My line is very clear. I am for freedom. Everything that is not for freedom I protest.” |
| Mr. Abbado was born in Milan on June 26, 1933, to a family that traced its roots in the city back to the 13th century. His father, Michelangelo, was a violinist and teacher at the Giuseppe Verdi Conservatory in Milan; his older brother, Marcello Abbado, eventually became the director of the school. | Mr. Abbado was born in Milan on June 26, 1933, to a family that traced its roots in the city back to the 13th century. His father, Michelangelo, was a violinist and teacher at the Giuseppe Verdi Conservatory in Milan; his older brother, Marcello Abbado, eventually became the director of the school. |
| He began his musical studies on the violin and piano with his parents when he was 8, but quickly set his sights on the podium. He said that the pivotal moment came during a performance of Debussy’s “Nocturnes” by the La Scala orchestra. He was further encouraged in 1949, when Leonard Bernstein came to Milan to conduct a performance in which Mr. Abbado’s father was the violin soloist. Bernstein reportedly told the young musician that he had “a conductor’s eyes.” | He began his musical studies on the violin and piano with his parents when he was 8, but quickly set his sights on the podium. He said that the pivotal moment came during a performance of Debussy’s “Nocturnes” by the La Scala orchestra. He was further encouraged in 1949, when Leonard Bernstein came to Milan to conduct a performance in which Mr. Abbado’s father was the violin soloist. Bernstein reportedly told the young musician that he had “a conductor’s eyes.” |
| While a student at the conservatory in Milan, Mr. Abbado spent the summer studying with Friedrich Gulda at the Salzburg Festival in 1955, and with Alceo Galliera and Carlo Zecchi at the Accademia Chigiana, in Siena, Italy, in 1956 and 1957. | While a student at the conservatory in Milan, Mr. Abbado spent the summer studying with Friedrich Gulda at the Salzburg Festival in 1955, and with Alceo Galliera and Carlo Zecchi at the Accademia Chigiana, in Siena, Italy, in 1956 and 1957. |
| In Siena be became friendly with two of the other students, Zubin Mehta and Daniel Barenboim, and Mr. Mehta persuaded Mr. Abbado to join him as a student of Hans Swarowsky at the Vienna Academy. Mr. Abbado and Mr. Mehta also went together to the Berkshire Music Center at Tanglewood in 1958, where Mr. Abbado won the Koussevitzky Prize for young conductors. | In Siena be became friendly with two of the other students, Zubin Mehta and Daniel Barenboim, and Mr. Mehta persuaded Mr. Abbado to join him as a student of Hans Swarowsky at the Vienna Academy. Mr. Abbado and Mr. Mehta also went together to the Berkshire Music Center at Tanglewood in 1958, where Mr. Abbado won the Koussevitzky Prize for young conductors. |
| Back in Italy in 1958, Mr. Abbado joined the faculty of the Parma Conservatory as a chamber music instructor and, the same year, made his opera conducting debut in Trieste. In 1960 he made his debut at La Scala in a concert of works by Alessandro Scarlatti to celebrate the composer’s tricentennial. He also organized a chamber orchestra of his own, Solisti di Milano. | Back in Italy in 1958, Mr. Abbado joined the faculty of the Parma Conservatory as a chamber music instructor and, the same year, made his opera conducting debut in Trieste. In 1960 he made his debut at La Scala in a concert of works by Alessandro Scarlatti to celebrate the composer’s tricentennial. He also organized a chamber orchestra of his own, Solisti di Milano. |
| In 1963, he entered the Dmitri Mitropoulos Memorial International Competition for young conductors and won a one-year assistantship to Bernstein at the New York Philharmonic. The position did not yield many performance opportunities, but when he returned to Europe, his career took off. A 1965 performance with the RIAS Orchestra in Berlin brought him to the attention of Karajan, who invited him to conduct the Mahler Symphony No. 2 at Salzburg that summer, and arranged for his Berlin Philharmonic debut in 1966. | In 1963, he entered the Dmitri Mitropoulos Memorial International Competition for young conductors and won a one-year assistantship to Bernstein at the New York Philharmonic. The position did not yield many performance opportunities, but when he returned to Europe, his career took off. A 1965 performance with the RIAS Orchestra in Berlin brought him to the attention of Karajan, who invited him to conduct the Mahler Symphony No. 2 at Salzburg that summer, and arranged for his Berlin Philharmonic debut in 1966. |
| In 1968 he became music director of La Scala, a position he held until 1986, the year he became music director of the Vienna State Opera. He also made debuts at Covent Garden and the Metropolitan Opera in 1968, both in productions of “Don Carlos.” | In 1968 he became music director of La Scala, a position he held until 1986, the year he became music director of the Vienna State Opera. He also made debuts at Covent Garden and the Metropolitan Opera in 1968, both in productions of “Don Carlos.” |
| In 1971 he was appointed permanent conductor of the Vienna Philharmonic and principal guest conductor of the London Symphony. He later became that orchestra’s principal conductor, succeeding André Previn in 1979; and in 1983 he became the orchestra’s music director, a position he relinquished in 1988. | In 1971 he was appointed permanent conductor of the Vienna Philharmonic and principal guest conductor of the London Symphony. He later became that orchestra’s principal conductor, succeeding André Previn in 1979; and in 1983 he became the orchestra’s music director, a position he relinquished in 1988. |
| American audiences saw Mr. Abbado primarily when he toured with one of the European orchestras that he directed. Although he said that he admired American orchestral playing, he conducted only a handful of American orchestras — principally the Philadelphia Orchestra, the Chicago Symphony, the Cleveland Orchestra and the New York Philharmonic. | American audiences saw Mr. Abbado primarily when he toured with one of the European orchestras that he directed. Although he said that he admired American orchestral playing, he conducted only a handful of American orchestras — principally the Philadelphia Orchestra, the Chicago Symphony, the Cleveland Orchestra and the New York Philharmonic. |
| Mr. Abbado was also enthusiastic about working with young musicians. In 1978 he founded the European Community Youth Orchestra for musicians between 14 and 20, and he undertook several tours with it. When some of that orchestra’s musicians passed the upper age limit and decided to form a new orchestra, the Chamber Orchestra of Europe, Mr. Abbado signed on as artistic adviser and frequent conductor. | Mr. Abbado was also enthusiastic about working with young musicians. In 1978 he founded the European Community Youth Orchestra for musicians between 14 and 20, and he undertook several tours with it. When some of that orchestra’s musicians passed the upper age limit and decided to form a new orchestra, the Chamber Orchestra of Europe, Mr. Abbado signed on as artistic adviser and frequent conductor. |
| He was a prolific builder of orchestras. He formed the Gustav Mahler Youth Orchestra in 1986, and in 1997 he and former members of that ensemble founded the Mahler Chamber Orchestra, a touring ensemble. In 1992, soon after he became music director of the Berlin Philharmonic, he co-founded Berlin Encounters, a project that brought together young musicians and experienced players. He founded the Lucerne Festival Orchestra in 2003, with players from the Mahler Chamber Orchestra as its core. | He was a prolific builder of orchestras. He formed the Gustav Mahler Youth Orchestra in 1986, and in 1997 he and former members of that ensemble founded the Mahler Chamber Orchestra, a touring ensemble. In 1992, soon after he became music director of the Berlin Philharmonic, he co-founded Berlin Encounters, a project that brought together young musicians and experienced players. He founded the Lucerne Festival Orchestra in 2003, with players from the Mahler Chamber Orchestra as its core. |
| Among Mr. Abbado’s many honors were the Gran Croce, Italy’s highest civilian honor; the Legion of Honor from France; and the Bundesverdienstkreuz from Germany. He was also awarded the Gold Medal of the International Mahler Society; the Ernst von Siemens Music Prize, a German cultural award; and the Ring of Honor and the Golden Nicolai Medal from the Vienna Philharmonic. | Among Mr. Abbado’s many honors were the Gran Croce, Italy’s highest civilian honor; the Legion of Honor from France; and the Bundesverdienstkreuz from Germany. He was also awarded the Gold Medal of the International Mahler Society; the Ernst von Siemens Music Prize, a German cultural award; and the Ring of Honor and the Golden Nicolai Medal from the Vienna Philharmonic. |
| He was appointed Senator for Life by Giorgio Napolitano, the president of Italy, in August 2013. | He was appointed Senator for Life by Giorgio Napolitano, the president of Italy, in August 2013. |